AI Presents Pluses and Minuses in New Apple TV+ Mystery Series, ‘Sunny,’ Starring Rashida Jones

 Rashida Jones, left, and Hidetoshi Nishijima pose for a photo in Tokyo on Tuesday, June 25, 2024, during a media event for the Apple TV+ series "Sunny." (Photo/Rodrigo Reyes Marin)
Rashida Jones, left, and Hidetoshi Nishijima pose for a photo in Tokyo on Tuesday, June 25, 2024, during a media event for the Apple TV+ series "Sunny." (Photo/Rodrigo Reyes Marin)
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AI Presents Pluses and Minuses in New Apple TV+ Mystery Series, ‘Sunny,’ Starring Rashida Jones

 Rashida Jones, left, and Hidetoshi Nishijima pose for a photo in Tokyo on Tuesday, June 25, 2024, during a media event for the Apple TV+ series "Sunny." (Photo/Rodrigo Reyes Marin)
Rashida Jones, left, and Hidetoshi Nishijima pose for a photo in Tokyo on Tuesday, June 25, 2024, during a media event for the Apple TV+ series "Sunny." (Photo/Rodrigo Reyes Marin)

As an actor and a writer, Rashida Jones has spent a lot of time thinking about artificial intelligence. The use of AI was a major issue at the bargaining table during last year's Hollywood strikes. AI is also front and center in her new series "Sunny" for Apple TV+.

"My feeling today — because it changes every day — is it’s here and there’s no going back. There’s an inevitability that we have to accept," Jones said. "We need some kind of collective ethical parameters about how we use this because it is pretty scary... It's out of our control at this point."

In "Sunny," Jones plays Suzie, an expat in Japan whose husband Masa (Hidetoshi Nishijima of "Drive My Car,") and son Zen are missing after a plane crash. She is gifted a companion robot named Sunny as a condolence gift from Masa's employer. Suzie is shocked to discover Masa worked in robotics and programmed Sunny specifically with her in mind. She thought he worked in refrigeration technology.

With Sunny at her side, Suzie begins looking into who Masa really was, compared to who she thought he was. As she delves further into the mystery, Suzie discovers that in the wrong hands, the code to creating robots like Sunny can be dangerous. Judy Ongg, annie the clumsy and Jun Kunimura also co-star.

Katie Robbins adapted the series for TV from the novel "The Dark Manual" by Colin O’Sullivan. She says that while there's an optimism to the series from the connection Suzie feels to Sunny, it's also a cautionary tale.

"What AI does in the course of this show, is help people who are turning inward and who have trouble connecting with others. It's beautiful," said Robbins. "But because it is human-made, there’s also tremendous potential for it to be abused and used in dangerous ways."

The speed at which AI developed in the real world as Robbins wrote the series came as a surprise.

"When I was first writing the show, I was working with an AI consultant and a roboticist and they would sort of talk about this being on the horizon. And I was like, ‘You’re crazy. This show is science fiction. This is never going to happen.’ And they were like, ‘Watch out.’ And then while we were shooting, ChatGPT came out, and as a writer, I am incredibly concerned about the capacity of generative AI."

In Jones' scenes, Sunny was a less-sophisticated robot in need of human help. Actor Joanna Sotomura was in a nearby tent voicing Sunny's lines and making facial expressions the robot would mimic. "That actually gave me a little bit of relief because I was like, ‘Oh, we’re nowhere near this being an integrated part of our lives,'" Jones joked. "There was a lot of, effort, both within production and post-production, to get her to feel and seem like this highly functioning thing."

So, would Jones want to own a robot in real-life?

"To comfort me emotionally? No. To fold clothes and do dishes? Yes, very much so," she quipped.



‘Despicable Me 4’ Reigns at Box Office, While ‘Longlegs’ Gets Impressive Start

 This image released by Neon shows Maika Monroe in a scene from "Longlegs." (Neon via AP)
This image released by Neon shows Maika Monroe in a scene from "Longlegs." (Neon via AP)
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‘Despicable Me 4’ Reigns at Box Office, While ‘Longlegs’ Gets Impressive Start

 This image released by Neon shows Maika Monroe in a scene from "Longlegs." (Neon via AP)
This image released by Neon shows Maika Monroe in a scene from "Longlegs." (Neon via AP)

Gru and the minions celebrated a second week in first place at the North American box office this weekend, while a small horror movie called “Longlegs” upset the starry $100 million "Fly Me to the Moon."

The supremacy of “Despicable Me 4” was hardly a surprise, as the Universal and Illumination franchise added $44.7 million and pushed the film over $200 million, according to studio estimates Sunday. But the big upset came further down the charts with “Longlegs ” more than doubling the debut of the Scarlett Johansson and Channing Tatum romantic comedy “Fly Me to the Moon.”

“Longlegs,” an original horror about a serial killer starring Maika Monroe and Nicolas Cage, made an estimated $22.6 million from 2,510 theaters. That’s the best ever start for indie outfit Neon (most famous for releasing the Oscar-winning “Parasite”), which acquired the $10 million film for distribution. Written and directed by Osgood Perkins, “Longlegs” also scored the best opening for an R-rated film this year.

Neon deployed an innovative marketing strategy for the film, including touches like placing cipher messages in local newspapers and posting a Los Angeles billboard with a phone number that played an “unnerving” message. In its first 48 hours, the number received over 250,000 calls.

“Longlegs” was well-received by critics (it has an 87% on Rotten Tomatoes), but audiences gave it a less enthusiastic a C+ CinemaScore.

“Fly Me to the Moon,” an Apple Original Films production, launched with only $10 million over the weekend. It trailed holdovers “Inside Out 2,” in third with $20.8 million; and “A Quiet Place: Day One,” in fourth place with $11.8 million.

Sony distributed “Fly Me to the Moon,” the Greg Berlanti-directed film about a marketing executive brought in to sell the space race to the American public, and, later, stage a fake moon landing just in case. Apple has not yet announced when it will debut on its streaming service.

The movie opened in 3,356 locations this weekend, attracting an audience that was mostly over 45. In this case, the audience was kinder than the critics, giving it an A- CinemaScore against a 67% on Rotten Tomatoes, suggesting that word-of-mouth may work in its favor over the long run.

The year-to-date gap between box office performance this year and last is getting moderately slimmer. It's now down 16.1% from 2023 thanks to a run of recent successes. But performance still pales in comparison to pre-pandemic standards. On July 14 in 2019, the annual box office take was at $6.2 billion. This year it’s at $4.1 billion so far.

“A very unpredictable summer movie season continues,” said Paul Dergarabedian, the senior media analyst for Comscore. “And after a slow start in May (it) has continued to surprise and impress with expected as well as unexpected hits adding bottom-line dollars to the industry’s most important season.”

In limited release, A24 opened “Sing Sing,” an early Oscar contender, in four theaters in New York and Los Angeles. With sellouts in both locations, it made $137,119, one of the best limited openings of the year.

The film from director Greg Kwedar is about an arts program at the prison and features many real life participants, including Clarence Maclin in his film debut. “Sing Sing” will continue playing on four screens through July and expand nationwide in August.

Finally, “Twisters,” which opens in North America on Thursday, began its international rollout this weekend, earning $11.5 million from 38 markets including in Australia, Mexico and Brazil.

In its wake comes “Deadpool & Wolverine,” the first Marvel release of the summer.